Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Burkina and from London.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1973.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Lagos kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Dorothy Ashby to the funk kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Shuggie Otis. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Bobby Womack,
Rakim,
Be Bop Deluxe,
Joe Smooth,
K-Klass,
Heaven 17,
The Last Poets,
Jawbox,
Aaron Thompson,
Kango’s Stein Massive,
the Bar-Kays,
The Golliwogs,
Camberwell Now,
Oneida,
Godley & Creme,
Black Flag,
Junior Murvin,
The Count Five,
ABBA,
X-Ray Spex,
LL Cool J,
Avey Tare's Slasher Flicks,
The Human League,
Moss Icon,
The Remains,
Joe Finger,
Agitation Free,
Joensuu 1685,
Man Eating Sloth,
Kool G Rap & DJ Polo,
Gil Scott Heron,
Gichy Dan,
Ice-T,
Fatback Band,
Throbbing Gristle,
Unrelated Segments,
The Red Krayola,
Adolescents,
Arthur Verocai,
The Invisible,
Infiniti,
Robert Wyatt,
Ultra Naté,
The Gun Club,
Rotary Connection,
The Dave Clark Five,
Maurizio,
Banda Bassotti,
Aural Exciters,
Arcadia,
Rowland S Howard / Lydia Lunch,
Camouflage,
Sun Ra,
Scientists,
Fifty Foot Hose,
Darondo,
Drexciya,
Stereo Dub,
F. McDonald,
Lower 48,
10cc, 10cc, 10cc, 10cc.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.